The decorative art that emerges at the end of the Roman Republic in the form of the golden eye is fascinating by the level of technicality used to represent a three-dimensional space; it also strikes by the richness of colours and featured materials distributed wisely on the surface of the walls. Mimèsis is a major component: representing the architecture..., but which one? Surely inspired by various repertoires — theatre sceneries and Greek buildings — the tardo-republican cheesemakers also draw on the sacred universe. This is witnessed by the multifaceted polychromatic marble and the proliferation of precious materials, rare wood, shiny metals, ivory, tortoise-shell, precious stones, heavy textiles or translucent glass, which also contribute to giving these decors an atmosphere of luxury and exotism. Depending on whether they are aimed at a public of customers, from amici or to the private sphere, those decoys appear to be marked by a series of differentiations both in terms of the choice of composition at several deep planes or limited to a minimum topography, and on the choice of materials represented. Their analysis therefore provides a mapping of trends and their meaning, offering a first level of social reading of these paintings. The presence of material traces which they bear, inlaid in the coating or visible on the surface of the pictorial layer, offers a second: brand names of tools, gestures and picturaux. or the distinction of several hands for the same purpose inform us about the methods and organisation of craftsmen. The book is devoted to analysing the imagined language and the material speeches of these walls.